‘Kinky Boots’ Gives Drag Culture Extra Kick

Midway through the second act of the new Broadway musical “Kinky Boots,” Charlie Price (played by Stark Sands), the heir to a failing shoe factory, tries to convince cheeky drag queen Lola (Billy Porter) that she can go “mainstream” by designing shoes for women.

Lola’s response: “Honey, we are mainstream!”

Ain’t she right. Following in the footsteps of other drag-centric musicals such as “Hairspray,” “La Cage Aux Folles” and “Priscilla, Queen of the Desert,” “Kinky Boots” has arrived on Broadway with a book by Harvey Fierstein and music and lyrics by Cyndi Lauper. Much like “Hairspray,” “Kinky Boots” is based on a movie of the same name, a 2005 British film that recounts the story of Northampton, England shoe manufacturers WJ Brooks, Ltd., who, when faced with the prospect of going out of business, decided to reposition themselves by making risque boots and other shoe-wear for the drag queen and fetish set. Another fortuitous resemblance to “Hairspray:” looks like “Kinky Boots” will be a smash hit, last week joining the exclusive ranks of Broadway musicals pulling in over $1 million a week.

The mainstreaming of drag culture can in no small part be attributed to the success of “RuPaul’s Drag Race,” which is about to wrap up its fifth season on Logo as the network’s highest-rated show. For me, what makes both “Drag Race” and “Kinky Boots” stand out is their focus on the men behind the drag. In most episodes of “Drag Race,” almost equal time is given to seeing the men out of their make-up and dresses, dealing with issues of heartbreak, jealousy, inadequacy, and self-acceptance. Even RuPaul mostly appears as his male self on the show, up until the judging portion. I don’t think this is by accident. Our culture has long wanted to keep drag queens in their performance boxes, ignoring or refusing to see the men behind these glamorous women as anything other than freaks or entertainers. RuPaul seems to want his show to focus as much on the human element of drag, on the struggles and obstacles we all need to overcome.

The same can be said for “Kinky Boots.” Many of the showstopping numbers (“Sex Is in the Heel,” “Hold Me in Your Heart” ) are performed by Lola in drag, but others, less flashy but no less gripping, are performed by Simon, Lola’s male alter ego. The show is about two men who feel overshadowed by the accomplishments of their fathers, Charlie by Mr. Price, the owner of the shoe factory and Lola by his dad, a professional boxer. Both men are struggling to make their own way in a world which seems hellbent on making decisions for them.

One of these quieter numbers is “I am My Father’s Son,” which seems to resonate with both leads in the show, Stark Sands and Billy Porter, in different ways. “My relationship with both of my fathers [biological and step] were quite strained during their lifetimes,” Billy told Speakeasy. “And now that they are no longer with us, I find this song to be a salve that has helped to heal the wounds of disconnected relationships.”

Stark Sands experiences the song a bit differently. “My parents were fully supportive and always encouraged me to be myself, so when Lola sings ‘I’m Not My Father’s Son’ to me, I’m forced to listen,” he said. “As Stark, it affects me because it makes me appreciate that love and support I had as a kid. As Charlie, it slowly dawns on me that Lola and I have a lot more in common than I thought. A bond is formed in that moment– not just between the characters onstage, but also with any audience members who can identify with the situation. And you can actually feel it happening — it’s palpable.”

The central question in “Kinky Boots,” about what it means to be a man, seems tailor-made for our times. Does what we wear, or the way we walk or talk, really make us men? Do we need to not stand out and conform to others’ expectations in order to be men? Lola’s challenge to Don, the resident bigot of the show, is to prove he’s a man by “accepting someone for who they are.” And while that sentiment may not exactly be groundbreaking or profound, not every Broadway show needs to be. “Kinky Boots” is a feel-good musical and that’s how I felt when I left the theater. The show has such an infectious spirit, the choreography and set design are fun, and most of all the chemistry and dedication of the cast is so authentic that it brings the audience to its feet. And let’s not forget the boots themselves: sickening.

If you didn’t know, that means “truly outstanding.” Better brush up on your Drag 101…

Eric Sasson writes Ctrl-Alt, Speakeasy’s column on alternative culture. He is the author of “Margins of Tolerance.” Follow him on Twitter @idazlei or visit his website at www.ericsassonnow.com.